I decided that any obvious depiction of the Israeli-Palestinian conflict as we know from media, wasn’t interesting for me. Somehow I understood what’s going on but I wanted to avoid getting involved or implicated. I was rather curious to discover where the source of tension is coming from.
Working in Israel, I wondered if it would be possible just to bring this tension directly into a book, to load those images with the tension and transmit that to the audience. I wanted to make photographs that are still comfortable to look at but somehow you’re absorbing the tension from the place.
I wasn’t following the consequences of the conflict. I was trying to deal with how the future can be imagined in Israel – what might happen, the fear of possible danger, what that can look like. I recognise that this is a highly fictionalising act, reflecting upon how it could be. That’s why I was always looking for those images that present a possibility or a preparation for something.
You’re working on a scene that looks strangely out of context because you are shooting just a small part of the whole movie. This is analogous to the world around us and how it can look real, but there is always something crooked in it and it’s hard to know what is real and what is not.
– Martin Kollar
Each day, L’Oeil de la Photographie will present you a series by photographer.
EXHIBITION
This place
From February 12 to June 5th, 2016
Brooklyn Museum of Art
200 Eastern Pkwy
Brooklyn, NY 11238
United States
https://www.brooklynmuseum.org
http://www.this-place.org
http://www.martinkollar.com
